Stipo XVII Century

The SEVENTEENTH Century - 1600

Stipo dating back to the seventeenth century supported by spinning top feet, it is in ebonized wood and externally is enriched with bronze applications and handles, worked with phytomorphic motifs. On the front a flap opening door hides the chest of drawers adorned with engraved ivory threads, also re-proposed in the internal part of the door itself; the handles of the drawers are in white iron, with lion features. In the center there is a door enriched by an ivory bas-relief depicting Andromeda chained with the sea monster, the small compartment inside is elegantly inlaid.

Furniture Beech Veneer Ash Tree Beech 1961 Mario Vender

Wardrobe/Bookcase. Only example projected by Mario Vender for a private commission of a house in Brianza. It is made with drawers and open compartments, two coat hangers and two containers that can be opened to create a writing surface. Beech veneered wood, ash tree structure, beech pillars.

Furniture Beech Veneer Ash Tree Beech Mario Vender 1961

Pair of container furniture with folding opening; unique project or Mario Vender for a private commission of an house in Brianza. Beech veneered wood, ash tree structure, beech pillars.

Pair of still lifes with vase of flowers and birds

Oil painting on canvas. North-Italy school. Beautiful compositions with a bunch of assorted flowers in shades of red (which refer to the covers of the tables), white and brown, presented in precious embossed metal vases; peculiar is the presence in both canvases of the little bird placed on the table next to the vase. The two compositions refer to the large production of still lifes, which began to develop widely from the seventeenth century thanks to Caravaggio who believed "that he had so much manufacture to make a good picture of flowers, as of figures". This affirmation gave dignity and autonomy to still life and the start of a production of works by various authors, starting from the Roman Caravaggesque school but then extending widely to the production of Northern Italy and Flemish, which reached up to the 1900s. This type of painting is often found in pairs for a specific request of the client, given the express purpose of furniture that it had. The two works proposed here are presented in a remarkable contemporary frame, in carved wood with leafy and gilded scrolls.

Xavier Bueno

Boy, 1966

Oil on canvas cardboard. Signed lower left. Further signature, date and title on the back. After his childhood spent in Spain, his native country, Geneva and Paris, in 1940 Xavier Bueno moved to Italy, in Fiesole, where he joined with his brother Antonio, Pietro Annigoni and Gregorio Sciltian. to the group of "Modern Painters of Reality", whose manifesto proposed an "objective" observation of truth, of nature and its faithful reproduction as possible. The experience of the Spanish civil war first and then the Italian one increasingly directed the artist towards a realism linked to reasons of strong social content. 1953 represented an important turning point for Xavier's career: it was the year of his explicit adherence to the poetics of socialist realism, an adhesion that came after a personal itinerary that saw him practicing "committed" painting since the pre-war period, with a clear advance on art of the Italian left. Another fundamental stage in Xavier's career was the trip to Brazil in 1954: the artist returned from this experience full of enthusiasm and with a series of inks whose main protagonists are children, teenagers, laborers. From this moment on, the theme of childhood became more and more recurrent, little by little the characters were portrayed motionless, in a sort of unreal fog, devoid of even depth, of perspective rigor, in which they emerge as evoked. The work presented here belongs to this production. Between 1959 and 1964 Xavier created the cycle of "Children", suffering images and melancholy symbolic works of a humiliated and oppressed humanity, which the artist presented at the "España libre" exhibition. His technique also underwent an evolution, which led him to seek a thickening of the material, thickened by the addition of sand to the paint; the use of collage, already experimented by him in still lifes, became conspicuous also in the figurative-portraiture field. The material of his paintings became such as to come to define them "fresco on canvas". Work presented in frame.

Xavier Bueno

Girls

Oil on canvas cardboard. Signed lower left. After his childhood spent in Spain, his native country, Geneva and Paris, in 1940 Xavier Bueno moved to Italy, in Fiesole, where he joined with his brother Antonio, Pietro Annigoni and Gregorio Sciltian. to the group of "Modern Painters of Reality", whose manifesto proposed an "objective" observation of truth, of nature and its faithful reproduction as possible. The experience of the Spanish civil war first and then the Italian one increasingly directed the artist towards a realism linked to reasons of strong social content. 1953 represented an important turning point for Xavier's career: it was the year of his explicit adherence to the poetics of socialist realism, an adhesion that came after a personal itinerary that saw him practicing "committed" painting since the pre-war period, with a clear advance on art of the Italian left. Another fundamental stage in Xavier's career was the trip to Brazil in 1954: the artist returned from this experience full of enthusiasm and with a series of inks whose main protagonists are children, teenagers, laborers. From this moment on, the theme of childhood became more and more recurrent, little by little the characters were portrayed motionless, in a sort of unreal fog, devoid of even depth, of perspective rigor, in which they emerge as evoked. The work presented here belongs to this production. Between 1959 and 1964 Xavier created the cycle of "Children", suffering images and melancholy symbolic works of a humiliated and oppressed humanity, which the artist presented at the "España libre" exhibition. His technique also underwent an evolution, which led him to seek a thickening of the material, thickened by the addition of sand to the paint; the use of collage, already experimented by him in still lifes, became conspicuous also in the figurative-portraiture field. The material of his paintings became such as to come to define them "fresco on canvas". Work presented in frame.

Tuscan Neoclassical Fireplace

The EIGHTEENTH Century - 1700

Tuscan neoclassical fireplace, in antique gray marble.

Giovanni Beltrami

Madonna with Child

Oil on the table. In the center, on the edge of the red dress, there is the wording in ancient font "G.Beltrami fecit". Beautiful composition in neo-Renaissance style, the work can be traced back to the artist Giovanni Beltrami who, in the wake of the current in vogue in the nineteenth century that re-proposed the artistic styles of the fifteenth-sixteenth century, ventured into this table with a sacred subject. Milanese painter, illustrator and art critic, as well as a lover of glass painting and mosaic, Il Beltrami grew up in the Milan of the Scapigliatura, seeking with his style a mediation between modern trends and tradition. In the pictorial field he established himself above all as a landscape painter, but he was always considered an artist of great and varied talent, who included in his repertoire numerous works with a sacred subject, especially as a decorator of interiors and churches. The painting is presented in a beautiful coeval frame, a small chapel, gilded and with superior decoration.

Chest from the early 1900s extremely rare! It is very difficult to find a comfortable malle, that is a trunk created as a chest of drawers: in addition to opening like the classic trunks, the front part can be lowered to show three large drawers. (It can also be removed quickly and thus transformed the trunk into a real chest of drawers). The brand is prestigious: Aux Etats Unis Paris, born in 1845, was one of the biggest names in the field of trunk makers. Already in the mid-19th century, together with Au depart, Le Grand Bazar and La Malle Bernard, it became one of the hottest names in Paris. In the early 1900s it was Louis Vuitton's main competitor, because it created luxury trunks in Paris of equal quality and features, with craftsmanship and top quality materials. 'Aux Etats Unis Paris, which is hardly noticeable because the trunk has been painted black over time, but with the restoration it can return, if you prefer, to look good.

Louis Vuitton Wardrobe Trunk Brass Oil Cloth France 1920s

1920 trunk covered with the iconic Monogram waxed canvas of the House, canvas created in 1896 by Georges Vuitton, son of Louis Vuitton. It is datable in the period in which the quality of the materials and the workmanship historically reaches one of the highest levels. Everything original, from locks to canvas, finishes and interiors. The closet trunk is definitely an extremely rare object to find, especially in good condition and in this case with a restoration would return to the ancient splendor. Arrived at the destination instead you could place the trunk and use it as a real closet. The finishes are in durable louisine, and the brass end parts. It’s a great item for collectors and furniture. In the left door there are hooks for hanging clothes and in the right door six drawers. The trunk was designed for long journeys and could be transported horizontally.

Gianfranco Frattini Desk Walnut Veneer Solid Wood Leather Glass 1970s

Centre desk with shutter with extractable top; inside drawers and plastic material containers for stationary, solid wood (front drawers and shutter) and walnut veneer, top upholstered in leather, glass shelf.